You may earn a maximum of 3 points toward your final grade by doing the above and answering the questions and submitting them on time (no later than Friday, September 8). Any worksheets submitted after the deadline will get a 0. You will be rewarded a maximum of 3 points if I judge your work to be above average. You will receive 2 points if your work is average, that is it may have a few minor mistakes in some of the answers but demonstrates correct grammar and indicates that some, but not all, of the answers, are acceptable and well expressed. You will earn only 1 point if you simply answered the questions and/or if you use poor grammar and if there are signs that you have not read the material on which your answers are based.
1. In the space below, describe the stasis at the beginning of the play NOT THE FILM of Real Women Have Curves. In other words, “Where are we?” “When is it (time, day, and year)?” “Who are the people involved?” “What is the dramatic situation in which the characters find themselves as the play unfolds?”
Real Women Have Curves opens on a Monday morning on the 7th of September 1987 around seven o'clock.The stage lights to a Carmen yelling in Spanish arguing with Ana. They are hungry at this point and they want Ana to get bread, but she is worried about the outside and does not want to leave. Carmen and Ana exchange light verbal attacks and cite their insecurities. Carmen calls out her weight and Ana is alluded to be offended. Pancha is on the sidelines watching the exchange unfurl. Eventually, Ana then goes and locks herself in the bathroom so she can write her experiences and woes in her journal.
2. What is the intrusion that causes the stasis to be broken in the play and the dramatic action to develop, often at an increasingly rapid pace, to the end of the play?
The stasis is broken when Ana decides to strip off her clothes. The other women are at first shocked. They are confused to why Ana decided to open herself up in that way. The other women then strip off their clothes. They are then all vulnerable together. This examines the way how the women perceive themselves. Ana is beginning to see herself for who she is, and she is learning to accept her body. The clothes can be seen as a metaphor for all the emotional burdens the women carry. because after this intrusion the women divulge emotions and they become closer as a group.
3. Why do the events of the play take place at this particular time and place? In other words, what is the unique factor which is out of the ordinary that causes a turn of events to take place?
In the late 1980s American was beginning to rip up its internal illegal immigrant security. The government wanted to find illegal immigrants and process them to send them back to their native land. This is an important fact, because the play revolves around the point that Estela does not have her papers and also has a criminal record. Estela is in great danger having the possibility of being deported. This allows for there to be higher stakes and conflict within the play, making the plot more interesting and deep.
4. State the dramatic questions that must be answered by the end of the play? (Ordinarily, the dramatic question shares a close connection with the intrusion.)
The most important dramatic question concerns the ladies' clothing order. Will the they be able to finish the order by the deadline? This business is Estela's baby so this question drives the main idea conflict of the play. There are also smaller questions like: Will Ana attend NYU? or Will Estela ever get her papers? These questions also propel subplots and create conflict.
5. Use Ana, the central character, to answer the questions. Ball says, a character is revealed by what he/she does, that is, the dramatic actions that are taken by that character. Examine what Ana wants (NOTE: In Real Women Ana's wants seem to be in flux. They change as the play progresses). The wants of a character often encounter obstacles that get in the way of achieving those wants. Ball says there are 4 kinds of obstacles that frustrate the wants of a character. They are: a. Me against myself, b. Me against another individual, c. Me against society (that is law, social norms, etc.) and, d. Me against fate, the universe, natural forces, God or the gods. In answering these questions be sure to point to the particular obstacles that demonstrate these obstacles.
Ana starts off as a girl who is afraid of her own body. She encounters conflict with herself, because she wants to see someone else in the mirror. She wants to be able to change who she is and who she looks like. Eventually, Ana takes steps to be confident in herself, so she wants to proclaim to the world that she is Ana and no one can take that away. The stripping of Ana's clothes mark her transition to conflict with society. The world views Ana in one way, but she wants to be viewed for who she is and not for how she looks. She also encounters conflict from the other women, because they at first treated her as young and incompetent. Here Ana struggles against other individuals. Later on, she desires to attend New York University. The world says she will never make it, and thus she once again has to fight society. The wants of Ana evolve as Ana evolves as a young lady, and she strives to be true to herself.
6. The most important information in most plays takes place during theatrical moments. Identify the most theatrical moments in Real Women Have Curves.
The women rush to close the door and lock it behind each others. They are afraid of the world coming in to attack them, thus they make a big deal every time and create a humorous interaction.
The stripping of the clothes could be argued to be the most theatrical moment. All eyes are drawn to the clothes and all the colors flying around. Plus, the fact that people are stripping before you really takes an audience by surprise.
The blowing up of the sewing machine. This event scares the audience and characters. It portrays the anguish the characters feel and describes their struggle.
The argument of Pancha and Estela. The two have a verbal fist fight, and eventually Rosali faints from all the action.
7. Provide at least three examples of images in Real Women. How does the title of the play help us understand the images in the play? (Remember Ball says that, “An image is the use of something we know that tells us something we don’t know.” He goes on to say that images invoke and expand, rather than define and limit.”)
Ana's journal. The journal speaks to the play because the play seeks to show that women come in many forms, including a writer.
The dresses. The dresses portray the lives the women wish they could live. They act as ways to hide from reality when they put them on or make their own.
The broken sewing machine. The broken sewing embodies the embattled women. It is a testament that all the women are in this together, and they all share their own woes.
The bars on the door and windows. The bars suggest that the women are imprisoning themselves. They are wary of what they do, and they do their best to not draw attention to themselves.
8. Ordinarily, there are many themes in most plays. List the themes in Real Women.
Love yourself. The play continues to showcase that we make ourselves. It is up to us to define ourselves and how other perceive us. It is important to love yourself before you try to love others.
Women are capable of all things. The women in this play show the strength women have. It is a testament that women can accomplish anything they set themselves too without a man.
Education is a tool worth fighting for. Ana wants to receive an education for prominent school. She recognizes that an education would allow her to provide for her family and friends.
Family.The women share a bond together. They seek to be close and protect one another. The care they share embodies a family. This shows that a family s what one makes it, and not just blood.
9. Most American plays have something to do with family and/or family relationships. What does family have to do with the dramatic action in Real Women? Is family redefined in this play? If so, how and why?
Each women has their own interpretation of what family is. Carmen and Ana see their family going separate ways. Often times families are strained when a member wants to begin working to create their own future. This is often misconstrued as pure selfishness, and Carmen is worried with Ana wanting to go off to a college and live her own life. Yet, the play seeks to show that emotional events can bring a family back from the depths. The stripping of the clothes marks the time that all the women realize the importance of their relationships. The bond between Carmen and Ana is examined. The women are drawn to one another and their shared lives bring them closer than blood could ever manage.
SLB Real Women Have Curves
You may earn a maximum of 3 points toward your final grade by doing the above and answering the questions and submitting them on time (no later than Friday, September 8). Any worksheets submitted after the deadline will get a 0.
You will be rewarded a maximum of 3 points if I judge your work to be above average. You will receive 2 points if your work is average, that is it may have a few minor mistakes in some of the answers but demonstrates correct grammar and indicates that some, but not all, of the answers, are acceptable and well expressed. You will earn only 1 point if you simply answered the questions and/or if you use poor grammar and if there are signs that you have not read the material on which your answers are based.
1. In the space below, describe the stasis at the beginning of the play NOT THE FILM of Real Women Have Curves. In other words, “Where are we?” “When is it (time, day, and year)?” “Who are the people involved?” “What is the dramatic situation in which the characters find themselves as the play unfolds?”
Real Women Have Curves opens on a Monday morning on the 7th of September 1987 around seven o'clock.The stage lights to a Carmen yelling in Spanish arguing with Ana. They are hungry at this point and they want Ana to get bread, but she is worried about the outside and does not want to leave. Carmen and Ana exchange light verbal attacks and cite their insecurities. Carmen calls out her weight and Ana is alluded to be offended. Pancha is on the sidelines watching the exchange unfurl. Eventually, Ana then goes and locks herself in the bathroom so she can write her experiences and woes in her journal.
2. What is the intrusion that causes the stasis to be broken in the play and the dramatic action to develop, often at an increasingly rapid pace, to the end of the play?
The stasis is broken when Ana decides to strip off her clothes. The other women are at first shocked. They are confused to why Ana decided to open herself up in that way. The other women then strip off their clothes. They are then all vulnerable together. This examines the way how the women perceive themselves. Ana is beginning to see herself for who she is, and she is learning to accept her body. The clothes can be seen as a metaphor for all the emotional burdens the women carry. because after this intrusion the women divulge emotions and they become closer as a group.
3. Why do the events of the play take place at this particular time and place? In other words, what is the unique factor which is out of the ordinary that causes a turn of events to take place?
In the late 1980s American was beginning to rip up its internal illegal immigrant security. The government wanted to find illegal immigrants and process them to send them back to their native land. This is an important fact, because the play revolves around the point that Estela does not have her papers and also has a criminal record. Estela is in great danger having the possibility of being deported. This allows for there to be higher stakes and conflict within the play, making the plot more interesting and deep.
4. State the dramatic questions that must be answered by the end of the play? (Ordinarily, the dramatic question shares a close connection with the intrusion.)
The most important dramatic question concerns the ladies' clothing order. Will the they be able to finish the order by the deadline? This business is Estela's baby so this question drives the main idea conflict of the play. There are also smaller questions like: Will Ana attend NYU? or Will Estela ever get her papers? These questions also propel subplots and create conflict.
5. Use Ana, the central character, to answer the questions. Ball says, a character is revealed by what he/she does, that is, the dramatic actions that are taken by that character. Examine what Ana wants (NOTE: In Real Women Ana's wants seem to be in flux. They change as the play progresses). The wants of a character often encounter obstacles that get in the way of achieving those wants. Ball says there are 4 kinds of obstacles that frustrate the wants of a character. They are: a. Me against myself, b. Me against another individual, c. Me against society (that is law, social norms, etc.) and, d. Me against fate, the universe, natural forces, God or the gods. In answering these questions be sure to point to the particular obstacles that demonstrate these obstacles.
Ana starts off as a girl who is afraid of her own body. She encounters conflict with herself, because she wants to see someone else in the mirror. She wants to be able to change who she is and who she looks like. Eventually, Ana takes steps to be confident in herself, so she wants to proclaim to the world that she is Ana and no one can take that away. The stripping of Ana's clothes mark her transition to conflict with society. The world views Ana in one way, but she wants to be viewed for who she is and not for how she looks. She also encounters conflict from the other women, because they at first treated her as young and incompetent. Here Ana struggles against other individuals. Later on, she desires to attend New York University. The world says she will never make it, and thus she once again has to fight society. The wants of Ana evolve as Ana evolves as a young lady, and she strives to be true to herself.
6. The most important information in most plays takes place during theatrical moments. Identify the most theatrical moments in Real Women Have Curves.
7. Provide at least three examples of images in Real Women. How does the title of the play help us understand the images in the play? (Remember Ball says that, “An image is the use of something we know that tells us something we don’t know.” He goes on to say that images invoke and expand, rather than define and limit.”)
8. Ordinarily, there are many themes in most plays. List the themes in Real Women.
9. Most American plays have something to do with family and/or family relationships. What does family have to do with the dramatic action in Real Women? Is family redefined in this play? If so, how and why?
Each women has their own interpretation of what family is. Carmen and Ana see their family going separate ways. Often times families are strained when a member wants to begin working to create their own future. This is often misconstrued as pure selfishness, and Carmen is worried with Ana wanting to go off to a college and live her own life. Yet, the play seeks to show that emotional events can bring a family back from the depths. The stripping of the clothes marks the time that all the women realize the importance of their relationships. The bond between Carmen and Ana is examined. The women are drawn to one another and their shared lives bring them closer than blood could ever manage.